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ART “4” “2”-DAY  24 October v.9.a0
^ Born on 24 October 1607: Jan Lievens Lievenszoon van Oude, Dutch painter, draftsman, and printmaker, who died on 08 (04?) June 1674.
— His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens’s early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favored by his noble patrons, thus never fully realizing his early promise. Nonetheless, he became a renowned portrait painter and draughtsman, and his drawings include some of the finest examples of 17th-century Dutch portraiture in the medium.
— Lievens was a painter of portraits and religious, allegorical and genre subjects. He was a friend and contemporary of Rembrandt [15 Jul 1606 – 04 Oct 1669] and a student of Pieter Lastman [1583-1683] in Amsterdam. Then he shared a studio with Rembrandt in Leiden in the later 1620s: many works of this period show one influencing the other. Lievens went to England, probably in 1632 after Rembrandt moved to Amsterdam, but he was in Antwerp by 1635, where he was influenced by the courtly style of Van Dyck [22 Mar 1599 – 09 Dec 1641]. He returned to Holland in 1639 and became a successful painter of portraits and allegories. Raising of Lazarus (1631) is a good example of his works.
— Jürgen Ovens [1623 – 09 Dec 1678] was a student of Lievens.

Constantijn Huygens (1627, 99x84cm) _ Constantijn Huygens was secretary to stadholder Frederick Henry prince of Orange [29 Jan 1584 – 14 Mar 1647] and as such had a great deal of influence. Around his neck hangs a seal for using with sealing wax. In this painting he is also wearing clothes that were fashionable in the 1620s: a black doublet, velvet britches with a long black coat over the top, a hanging pleated ruff and a broad-rimmed felt hat. Lievens had placed Huygens against a dark background. The only color in the painting comes from the red chair. Huygens extensively described his relationship with Lievens. According to Huygens's autobiography, Lievens was nineteen years old when he met Huygens. The artist was instantly captivated by the latter's face and wanted nothing more than to paint his portrait. In the winter of 1626, the young painter went to stay with Huygens in The Hague to begin work on the portrait. However, he got no further than the hands and clothes. In the spring Lievens returned to finish the painting. Huygens was very pleased with his portrait. 'I have naturally wide-open, large and bulging eyes. Their distinctive shape is usually a symptom of weak eyesight...', is how Huygens described is own eyes. Aided by this description, the portrait was identified in 1936 as the portrait of Huygens by Jan Lievens. Lievens painted Huygens's portrait in two phases. During the first phase he painted the body, only later filling in the face. The young artist had trouble with Huygens's face. From X-rays of the painting we can see that the face was at first turned towards the viewer. Lievens changed the painting later on. Huygens is now looking to the side. Because Huygens's body and face were not painted at the same time, the scale is not entirely accurate. The head is too small and the hands are somewhat long. Lievens's contact with Huygens did not do him any harm. His friend and colleague Rembrandt also benefited from this connection. In their early years, Lievens and Rembrandt were both students of Pieter Lastman and worked closely together for a time. Through Huygens, Rembrandt was commissioned by Frederick Henry to paint a series of Passion scenes. He also painted the portrait of Frederick Henry's predecessor as stadholder, his older brother Maurice prince of Orange [13 Nov 1567 – 23 Apr 1625]. _ There is also a portrait of Constantijn Huygens (1672) by Netscher [1639 – 15 Jan 1684].
Rembrandt van Rijn (1630, 57x45cm) _ This young man, fixing us with his attentive gaze, is almost certainly Rembrandt, depicted at an early age, but recognizable by his rusty curls. The young artist is dressed in fantasy costume dress, wearing a cap and gorget. He has a light scarf around his neck. Lievens applied Rembrandt's style, using dark color and a highly distinctive chiaroscuro. Lievens scratched the subject's curls into the paint, just as Rembrandt had in a Self-portrait at an Early Age (1628, 23x19cm).
Samson and Delilah (1630, 131x111cm) _ Samson lies sleeping, meek as a lamb, in the lap of his mistress Delilah. She is wide awake, gesturing to a man in the background. Delilah wants him to cut off Samson's long hair. The man is still hesitating. The light falls on Samson's defenseless shoulder and Delilah's evil-intentioned face. The figures have been painted in half-length. There is an oil sketch probably made in preparation for this painting; in the sketch the figures are full-length. Rembrandt also painted Samson a number of times in this period. Rembrandt and Lievens worked closely together for a time. Their painting styles were therefore similar. Several Rembrandtesque details can be found in this painting. The woman's lemon-yellow dress for instance is painted in impasto: the under layer has been applied very thickly. Rembrandt also often used the same 'thick' painting technique. A few curls have been scratched into Samson's hair; the under layer is visible here. Rembrandt also regularly did this, using this technique for the first time in his 1628 Self Portrait.
Vanitas Still Life (1625, 91x120cm) _ A pile of old books and a lute lie untidily on a stone slab. In the background are two globes. In the foreground a small still life picturing a jug, a glass and a loaf of bread has been painted within the still life. For a long time it was unclear who had painted this picture. It was attributed to 'Rembrandt's circle'. After a comparison with paintings by Jan Lievens, the still life was finally attributed to the latter. The thick, tattered books are almost identical to other books painted by Lievens. The books were clearly painted by Lievens. On the left, at the bottom of the pile is a book with a compressed spine. This book can be seen in paintings of the evangelist Mark in the Städtische Kunstsammlungen in Bamberg, Germany. The small still life in the foreground was added at a later date when the paint was already dry. This was probably by someone other than Jan Lievens. This still life is painted more finely than the rest of the picture. Judging by the style it is believed to have been painted by Jan Jansz. den Uyl. 'Uyl' is the old spelling of the Dutch word for 'owl'. In the reflection on the pewter jug a small owl can just be seen: perhaps this is the concealed signature of the artist Den Uyl. This painting is similar to another still life by Lievens. In the other painting, apart from the books and musical instruments, there is also a skull, a candle and an hourglass. These are clear references to Vanitas, the transience of earthly existence. Although these articles are not featured in this painting, this is probably also a Vanitas still life. If so, the books and musical instruments refer to the fleeting nature of music and earthly knowledge. X-ray photographs have revealed that Lievens had first painted something else on this panel. A head of a woman can be discerned, dressed in the fashion of the 1620s. This may have been an unsuccessful portrait. In any case, Lievens turned the panel through 90° and started again. The colors in the still life indicate that the painting must have been made after 1620. It was then that it became fashionable to paint in one color - monochrome.
A Girl (1633, 62x 48cm; 849x662pix, 53kb) _ A characteristic early painting of the artist from his Leiden period. It is certainly not a portrait, probably it is a fragment of a larger composition, perhaps Mary from an Annunciation.
Petrus Egidius de Morrion (1637, oval 84x59cm; 850x595, 68kb) _ The painting was made in Antwerp and it clearly shows the influence of Flemish painters.
^ Died on 24 October 1926: Charles Marion Russell, US painter and sculptor specialized in the US West, born on 19 March 1864.
Russell painting— In 1880 he left his upper-class home in Saint-Louis for Montana Territory. He worked briefly on a sheep ranch, spent two years as a hunter’s and trapper’s assistant and then became a cowboy. During his considerable spare daytime hours he painted, sketched and modeled small animal figures in clay (e.g. Antelope, 1915). Although he painted a few exceptional oils and watercolors prior to 1900, the vast majority of his best work was done in the last two decades of his life. Typically the subject-matter centers around cowboy life (e.g. Wagon Boss, 1909) and the Plains Indians, for whom he had great respect. The luminous Piegans (1918), with its depiction of the Plains Indians, is a reminder of the vastness of the US West. Russell’s sense of humor and empathy for his subject-matter radiates from his paintings as pleasingly as do the clear colors of the high country. His bronze sculptures (e.g. Buffalo Hunt, 1905) depict the same dramatic and tension-packed themes as his paintings.

— Near the turn of the century, the Indian Wars were ending and the transition to reservation life was in progress throughout the Plains region. As the West of Russell's youth yielded to encroaching civilization, his artistic vision evolved away from stern realism toward a more poetic and romantic style. The image of a single mounted warrior was a format Russell employed frequently and it clearly manifested his nostalgic sentiments. Throughout his artistic career, he did paintings depicting a single mounted Indian, from every tribe with which he came in contact. Russell's thorough knowledge of Amerindian culture led him to execute more than thirty individual paintings of Amerindians from some fifteen distinct tribes. These included the Arapaho, Assiniboin, Blackfoot, Blood, Cheyenne, Cree, Crow, Flathead, Kutenai, Nez Percé, Pawnee, Piegan, and Sioux.
      A comparison of Russell's single figure studies, before and after the turn of the century, reveals a steady increase in his technical expertise. By 1905, his handling of human and equine form had reached its peak, mostly because of his exposure to the New York art world in late 1903-1904. The simple horse and rider compositions over the next ten years reveal Russell's flourishing sophistication as a draftsman and colorist. These new skills would also be apparent in the carefully worked, multi-figured paintings of the next decade.
      While critics may not have taken Russell's art too seriously at one time, they found the artist fascinating. He received attention from New York's professional illustrators who, charmed by his frank manner and droll humor, welcomed him into their ranks. Russell stoutly insisted upon his right to be himself. He dressed as he pleased — in cowboy boots and Stetson, with a woven sash to hold up his pants and he believed, keep his stomach small. His talk which was guarded and laconic when around strangers, flowed among friends, who regarded him as a master storyteller and delighted in his dry wit just as readers of his illustrated letters still do.
      1887-1899 were formative years for Russell and his most experimental period in subject matter; he borrowed Remington subjects, compositions and figures as he worked out his own approach and defined his own turf. The Indian fighting army was Remington's, but Russell claimed the open range cowboy, the old-time Plains Indian and western wildlife. They were his West.
      He elaborated setting in his paintings. Montana was home to him and he cherished the landmarks that identified specific locales — the Judith Basin, the Great Falls area, Glacier Park. One critic for The St. Louis Star said "Mr. Russell paints the landscape with as much fidelity as he does his figures…he gives a graphic description of the country which creates the rugged, boisterous, fun loving, life-loving, jolly men of the plains…" Those who champion Russell continue to refer to his authenticity rather than his artistry. Russell offered the "speaking details dear to any lover of western life."
      He worked hard to satisfy the demand for authenticity but recognized, as he wrote a friend about his Indian paintings, that he had "always studied the wild man from his picture side."
      Russell disclaimed any interest in "teckneque", mocked highfalutin artsy talk, and doubted that there was anymore to Impressionism than a desire to hide "bum drawin." But his own painting in the 1920's exhibits a bolder use of color and a painterly looseness that indicates an evolution (similar to Remington's evolution) away from the linear and the literal toward an appreciation of light and the way we feel what we see.
      The core of his work is a sustained elegy in which time stands still. His images of the "onley real American", proud Indian men and women riding across the land they owned, of cowboys in their careless youth free never to grow old, and wild animals, buttes and rivers, and the rolling plains, will be there for generations to come. Through his art Russell speaks to us in the present voice, and what he says constitutes his claim to greatness.

—      According to family lore, Charlie Russell displayed an aptitude for art from a young age, reportedly drawing pictures and modeling in wax when he was a small child. At 16 years old, Russell's parents sent him to Montana under the care of a sheepherder. The independent young man struck out on his own soon after, finding work as a cowboy in the booming Montana ranching industry. During long, often tedious days watching over cattle on the open range, Russell sketched the scenes around him. In the winter, when many cowboys were unemployed, Russell lived in various frontier towns and painted pictures to pay for his food and lodging.
     Friends said that Russell also began carrying modeling clay with him during this time, making small sculptures during his spare moments. Russell likely would have continued as an itinerant cowboy and amateur artist for the rest of his life had he not met a young woman named Mary Cooper. In 1896, the couple married, and Russell's new wife began to guide him toward a serious career in art. Russell found there was a growing market, especially among wealthy East Coast residents, for images of the disappearing US frontier.
another Russell painting      By 1920, he was making frequent trips to New York to paint western pictures for an increasing number of supportive patrons. Russell rarely painted or sculpted from models or from life, relying on memory to recreate scenes from the life he had experienced. He had no real art training and little interest in the formal aesthetics of art.
     Though critics often ignored or derided his work, the public loved it. Initially, Russell's paintings and sculptures documented his early life as a cowboy, but later in his career, he also began to depict scenes from the lives of American Indians and historical figures. Many of his later paintings express Russell's melancholy attachment to the unspoiled West and his dislike of the "progress" that had plowed under the Great Plains and fenced in the open range. Russell spent his final years in Great Falls, Montana, where he continued to paint until his death.

— Like Frederic Remington, Charles M. Russell was born to moderate wealth. Born in Saint-Louis, Missouri, Charley Russell[ spent his early boyhood in the Oak Hill suburb, in a half-century-old estate strongly reminiscent of a colonial Virginia plantation. The Russell family operated the most extensive coal mines in the region. Later, Russell's father became the president of the Parker-Russell Mining and Manufacturing Company, which built a large plant to convert fire clay into tile and brick, gas works, and rolling mills. It was the largest company of its kind in the US. Charley's family tried hard to educate him and resisted his urge to go west, but he did not like school and had heard too many tales from men who had been clear up to Fort Benton, and his longing was not to be resisted. Through all his years of drifting, Russell never lost his air of being to the manner born, no matter how disreputable his outward appearance might be.
     Russell first came to Montana in early March 1880 with a dream of becoming a real cowboy. He was so captivated with the West he chose to stay and fulfill his childhood fantasy. During those first years in Montana, Russell received great encouragement from Jake Hoover, a mountain man who befriended him and took him under his wing. Hoover often shared his cabin with the young Charlie, sometimes providing food and shelter for months at a time. This friendship allowed Russell to experience the ways of the frontier life he would later portray so vividly in his paintings.
      In 1882 Charlie landed a job as a wrangler on a cattle drive. He wrangled for eleven years, and while he was not known for being a good roper or rider, Russell established a local reputation as the affable (some said bone lazy) cowboy who loved to draw and knew how to tell a great story. As a self-taught artist, his sketches were crude but reflected an observant eye, a feel for animal and human anatomy, a sense of humor and a flair for portraying action — all hallmarks of Russell's mature art.
      Throughout his years on the range, he witnessed the changing of the West. He saw the bitter winter of 1886-1887 end the cattleman's dominion on the northern plains. The days of free grass and unfenced range were ending and, for Russell, the cowboy life was over by 1893.
      Prior to Russell's marriage to Nancy Cooper, in 1896, only a few of his works had been reproduced nationally. Although he was unsure of his ability to earn a living with his art, Nancy Russell recognized her husband's talent and promise, and provided the business sense and drive that eventually made her unambitious husband one of America's most popular artists.
      Success did not come easily for the Russells. Montana offered few opportunities for art sales, which eventually led them to New York where contact was established with other artists interested in Western themes. At the very time Frederic Remington was getting out of illustration to concentrate on painting, Russell secured illustrating assignments and began to gain exposure through exhibitions and press coverage.
      His emergence in the big time art world came in 1911 with a one man show at a New York gallery, followed three years later by an exhibition in London. Charles Russell felt deeply the passing of the West, the most evident theme of his art. This sense of loss touched him with an emotional immediacy. He was haunted by youthful fantasies, memories of what once was and by the evidence of change that surrounded him as an everyday reality. His work reflected the public demand for authenticity, but also the soul of a romantic.
— More biographical information:
Great Falls (MT) Chamber of Commerce / Charles M. Russell, Legacy / Frye Art Museum


Self-Portrait on horseback (1906; 429x301pix, 38kb)
The Signal Fire (1897, 81x111cm; 671x1051pix, 451kb _ ZOOM to 1006x1576pix, 1218kb _ ZOOM+ to 1617x2533pix)
The Death Song of Lone Wolf (1901, 58x90cm; 724x1086pix, 542kb _ ZOOM to 1086x1629pix, 1282kb _ ZOOM+ to 1629x2514pix)
Spearing a Buffalo (47x77cm; ; 650x1086pix, 513kb_ ZOOM to 975x1629pix, 1248kb _ ZOOM+ to 1565x2616pix)
Buffalo Hunt (1897, 47x72cm; 693x1086pix, 496kb _ ZOOM to 1040x1629pix, 1111kb _ ZOOM+ to 1617x2533pix)
Antelope (1894, 51x84cm; ; 648x1086pix, 446kb _ ZOOM to 972x1029pix, 1056kb _ ZOOM+ to 1563x2620pix)
Indian Rider (56x46cm)
The Challenge (56x81cm)
Return of the Horse Thieves (1900; 106kb)
Red Man on the Plains (1901; 538x1000pix, 112kb)
— Illustrations from Indian Old Man Stories (1920):_ [Amerindian up in tree attacks eagle's nest] (800x559pix, 101kb) _ [Riverscape with Heron] (800x537pix, 113kb) _ [Return of the Squaw] (800x559pix, 94kb)
A Quiet Day in Utica (1907, 61x92cm; 441x673pix; 216kb gif)
Man Killer (1911; 423x306pix, 17kb)
War Council on the Plains (314x450pix, 24kb)
^ Born on 24 October 1868: Charles Edwin Conder, English painter, active in Australia and France, who died on 09 February 1909.
— He was sent to Australia in 1884 to learn surveying under his uncle W. J. Conder. After about two years in survey camps, he attended evening classes at the Royal Art Society, Sydney; in 1887 he worked as a lithographic draughtsman for The Illustrated Sydney News. Tom Roberts, then in Sydney on a visit from Melbourne, was among the open-air landscape painters that he knew at this time. He taught Conder some of the principles of Impressionism, such as truth to the momentary effect of light and to colour values, and the rejection of the academic ideal of high finish. The most important painting of Conder’s Sydney years, The Departure of the ‘SS Orient’ from Circular Quay, 1888 (1888), already showed a distinct personal style, combining humour with nostalgia and selective observation with decorative finesse of handling and design. In December 1888 Conder joined Roberts and Arthur Streeton in Melbourne. During the following summers they painted together at the outer suburbs of Mentone, Box Hill and Eaglemont. Conder lived in a room in Melbourne fitted out in the Aesthetic style and used his studio as a form of self-expression. His friends in Melbourne included the English novelist Mrs Mannington Caffyn, who included a written portrait of Conder in her Australian novel A Yellow Aster (1894). In 1889 Conder joined Roberts, Streeton, Frederick McCubbin and others at the Buxton Galleries, Melbourne, in a show of small cedar panels, predominantly cigar-box lids, known as the ‘9 by 5 Impression Exhibition’ after the size of the panels.

Le Moulin Rouge
The Artist and the Editor (1906)
L'Alcade dans l'Embarras
A Pastoral Fantasy
The Sea-wall
A Dream in Araby
A Spanish courtyard
L'entrée en scène
The Green Room
La Mi~Carême
Schaunard's studio
Swanage Bay (1901, 46x61cm) _ Although born in London, Conder grew up and first went to art school in Australia. He moved to Paris in 1890. While living there in the 1890s he often stayed in Normandy, where he painted.
^ Born on 24 October 1820: Eugène~Samuel~Auguste Fromentin (Dupeux?), French Romantic writer and painter specialized in Orientalism. He died on 27 August 1876.
— The wide skies and sweeping plains of his native Charente region left him with a love of natural beauty for which he later found affinities in Algeria and the Netherlands. From his youth he showed academic intelligence, literary talent and artistic aptitude. In 1839 he was sent to Paris to study law, but he became increasingly interested in drawing. Although his father, a skilled amateur artist who had studied with Jean-Victor Bertin, never became reconciled to his son’s desire to pursue painting as a career, Fromentin was sent to study with the Neo-classical landscape painter Jean-Charles-Joseph Rémond [1795–1875]; however, he preferred the more naturalistic Nicolas-Louis Cabat. Fromentin developed slowly as an artist and began to show real promise as a landscape draftsman only in the early to mid-1840s. He published his first important piece of criticism on the Salon of 1845.

–- Arabes (1871; main detail 877x1157pix, 80kb — ZOOM to full picture 1500x2024pix, 210kb)
–- Orientaux (68x76cm; main detail 871x1170pix, 100kb — ZOOM to full picture 1616x2000pix, 318kb)
–- La Chasse au Faucon en Algérie> aka The Quarry (1862, 162x118cm; 876x737pix, 62kb — ZOOM to 2799x1965pix; 484kb)
Voleurs de Nuit aka Sahara Algerien (1865, 132x204cm)
Voleurs de Nuit (1868, 132x204cm)
Abreuvage des Chevaux (1873, 40x31cm)
Chevaux s'Abreuvant dans une Rivière (1872, 41x31cm)
Étang dans une Oasis - Sahara (1866, 112x143cm; 687x1000pix, 353kb)
Cavaliers Arabes (36x45cm)
Arabes en Chasse (41x26cm)
Centaures et centauresses s'exerçant au tir de l'arc (201x137cm)
Dans le Nil (27x38cm)
Deux Arabes sur une Terrace (27x20cm)
Campement Arabe dans les Montagnes de l'Atlas (1872, 33x41cm)
Le Simoun (55x65cm)
Dans le Désert (1868; 490x800pix, 97kb)

^ Buried on 24 October 1667: Gabriel Metsu (or Metzu), Dutch painter born in January 1629.
— He was the son of Jacques Metsue [1588–1629], a Flemish painter in Leiden. Gerrit Dou and Jan Steen were some of the teachers of Metsu. Gabriel Metsu was one of the leading figures in the founding of the Leiden Guild of Saint Luke of which he became a member in 1648. According to guild records, Metsu was absent from Leiden from about 1650 to about 1652; probably some of this time was spent in Utrecht. In 1657 he settled permanently in Amsterdam. The following year he married Isabella de Wolff, a native of Enkhuizen who was a descendant on her mother’s side of the Haarlem de Grebber family of painters. There is a Portrait of the Artist and his Wife (1661), which was clearly inspired by Rembrandt’s Self-portrait with Saskia (1635). The Rotterdam painter Michiel van Musscher became one of Metsu’s students in 1665. — Gabriel Metsu, born in Leiden in 1629, was the son of a Flemish painter, Jaques Metsue, who had settled in that city. He was probably taught by his father before becoming a student of Gerard Dou, the pre-eminent Leiden genre painter at that time. In 1648 he was one of the founders of the Leiden painters' guild and later in 1657 he moved to Amsterdam, where he remained for the rest of his life. Metsu painted many genre pieces, especially interiors with people and street scenes as well as a number of religious depictions. Metsu's work reveals the influence of many different artists: in particular that of his teacher Gerard Dou, painters such as Nicolaus Knupfer and Jan Steen as well as artists from the circle of Gerard ter Borch and Johannes Vermeer. He took over elements from the work of these artists, but incorporated them in a highly individual and original manner into his own work. Although Leiden was at that time renowned for its painters specializing in fine detail, Metsu's own detailed style only came into its own once he had left the city.

The Sick Child (1665, 32x27cm; 1600x1301pix, 313kb) _ The pale, sick child sits limply in the woman's lap. Beside them on the cupboard stands a stoneware bowl with spoon. On the wall behind hang a maps which has been rolled open, and a framed print showing the Crucifixion of Christ. Possibly there is more to be seen in this picture by Gabriel Metsu than appears at first glance. It could be that the woman represents the Christian virtue of neighborly love, Charity. This would explain the print showing the Crucifixion of Christ, who died on the cross to show God's love for humankind.
The Hunter's Present (1660, 51x48cm) _ In a richly-furnished room a man is handing a woman a partridge. It is not quite as innocent a gift as might at appear. In seventeenth-century Dutch parlance the word 'vogel' ('bird') also referred to the male genitals. So to offer a woman a bird was to suggest quite a different activity. The partridge furthermore was regarded as 'the most lascivious of all birds'. In his book Iconologia of uytbeelding des verstands (“The iconography or illustration of reason”) (1644), Cesare Ripa wrote that this bird is supreme in displaying 'unbridled lust and limitless lewdness'. Ripa claimed that 'cock partridges were so frenzied in treading their hens and aroused to such heights of lechery, that they often broke the eggs their hens were laying, since when they were laying them it was impossible to go on mating with them.' As for the hens it was also necessary to repeat the process in order to get more eggs. The expression 'to go hunting' and the fact that the woman is busy 'sewing' (she is holding a piece of embroidery) are equally ambiguous terms in Dutch. Also, the small Cupid on the cupboard together with the slippers which have been taken off, the feathered hat, the gun and the dogs, are all references in this context to love and lust. This symbolism would have been immediately understood by Metsu's contemporaries.
     The erotic connotation of the word 'vogel', or bird, can be seen in prints, such as The Bird Seller by Gillis van Breen after Claes Janszoon Clock. The caption reads 'How much is this bird, birdman? Where can you buy it? From a landlady I've been visiting all this year'. Combined with carrots (an obvious phallic symbol) and the way in which the man is feeling inside his trousers, this print leaves little to the imagination. This huntsman's gift is not just any bird; it is a partridge, considered in the seventeenth century to be 'the lustiest of all birds'. In popular tradition the partridge was said to break its own eggs so that it would have all the more excuse for mating.
     The huntsman's intentions are clear, but the woman appears to hesitate. She cautiously reaches towards the book lying on the table - possibly a prayerbook that will offer her spiritual support. However, she has already slipped off her slippers which suggests she has succumbed to the temptations of the flesh. Through the window the light catches the woman, on her arm and her slippers, as well as on the hunter and his gift. Metsu's depiction of the light is reminiscent of Johannes Vermeer and Pieter de Hooch.
     Metsu has painted the various animals in the painting with meticulous care: the plumage of the partridge and duck, the dogs' fur, and the frivolous feathers of the hunter's hat - another reference to promiscuity. Metsu frequently painted hunters - not only hunting, but bathing, sleeping or, as in this case, seducing a woman with a 'gift'. These huntsmen scenes were - because of their double nature - a popular subject for artists in the seventeenth century.
Woman Eating aka The Cat's Breakfast (1665, 33x27cm) _ A woman is sitting in a room with a plate of fish on her lap. Gazing dreamily into the distance, she feeds her cat with titbits of fish. The room is soberly furnished. Only a vase of flowers brightens up the otherwise plain wooden table. This small panel was painted by Gabriel Metsu, probably in the 1660s. At that time Metsu made a large number of these small, intimate genre pieces showing a woman alone in a room, busy with her household tasks, reading or sleeping or - as in this case - feeding the cat. A fine example of this style is his Old Woman Meditating.
     The painting is often referred to as The Cat's Breakfast. Of course, the simple meal of bread and fish is actually the woman's breakfast: it was quite common in the seventeenth century to start the day with bread and herring and beer. A still-life painting from the seventeenth century showing fish or cheese and bread, with other objects, was often called a breakfast piece, an example of which is Breakfast With Fish, by Pieter Claesz.
     Conspicuous in the foreground is a slaughtered cockerel, but it is not clear why it has been placed there. Probably Metsu was demonstrating his skill in painting the feathers. Metsu often painted animals in his pictures, presumably enjoying in illustrating the different textures. This painting includes the feathers of the cockerel, the cat's soft fur, and the gleaming fish. Metsu's interest in depicting various materials was probably encouraged by his teacher Gerard Dou whose rendering of texture was exceptionally skilful. In The Hunter's Present also Metsu devoted attention to the fur and feathers of the animals.
     The vase of flowers on the table is exquisite. Indeed, it is a masterpiece in its own right, a small still life within a larger framework. Many artists specialized in a particular genre. Up to the 16th century, most paintings featured religious subjects. Around 1600 this started to change. Artists began specializing in a particular subject. These new 'genres' were usually not or only partly religious. They included, for example, landscape, still life, architectural painting, and history painting. These had long been included in paintings as elements of a composition, but never as the central theme. There is also a genre known as 'genre' painting. This category features works in which people are depicted in their everyday environment., such as still lifes with flowers or with game or genre pieces, showing scenes from daily life. In the work here, Metsu shows that he is a master in all these types of painting and did not think twice about producing a superb flower still life with carnations and tulips. In this painting the leaves and stems are an unusual blue. This is probably due to the yellow that was mixed with the blue to make green. This particular pigment, brown pink is a yellow pigment based on buckthorn or Avignon berries. In the Low Countries it was used from the 16th century in miniatures and oil paintings. The pigment tends to fade under direct sunlight. As a result, the greens in which the pigments occurs tend to turn to blue.
The Old Drinker (1658, 22x20cm) _ On this small panel, Gabriël Metsu painted with minute detail this everyday scene of an old man with his pewter jar leaning against a beer barrel and with his Gouda pipe. Gouda pipes are white and have a long, slender stem and a small bowl. They were mass produced from around 1617 in the Gouda area, where white pipe clay (terra alba) was readily available. Copper moulds were used to model the clay, which was subsequently fired in the kilns of local potters. Pipes manufactured in other cities usually had shorter stems, but long stems were popular because they cooled the smoke better. However, they were difficult to produce, and the pipe-makers of Gouda were the only manufacturers with the necessary expertise. The old drinker looks rather the worse for wear; he sags rather than sits on the chair as he peers through his watery eyes, his chin unshaven, his collar open and his cap askew. Metsu presents the man with a direct honesty and realism that is not in fact harsh; the smile and the friendly eyes of the old drinker lend a certain sympathetic quality.
     In the seventeenth century, there was a (well founded) belief that smoking and drinking in excess accelerated the aging process. Paintings of 'old drinkers' are often a reference to this idea. This work is perhaps a warning to avoid excessive indulgence in alcohol and tobacco. This moral is not or is far less the message in paintings of 'jolly drinkers'. Frans Hals's Merry Drinker, for example, is a well-dressed, lively young man with rosy cheeks. There is little evidence of aging in that painting.
Old Woman Meditating (1662, 27x33cm) _ An old woman is sitting in a chair with a book on her lap. She probably is not actually reading, because she has taken off her spectacles and her eyes are half closed. Is she dozing off or is she lost in thought? Metsu has depicted the old woman's wrinkled hands, sparse eyelashes and flabby face with great precision. Before starting this work, Metsu undoubtedly took a good look at paintings such as Old Woman Reading a Lectionary, an early work by his teacher Gerard Dou. Metsu accentuated the wrinkles on the woman's face, thus producing a highly realistic portrayal of age.
The Lute Player
–- Woman Playing the Viola da Gamba (1663, 44x36cm; 1119x912pix, 91kb _ ZOOM to 2240x1824pix, 730kb) with a tiny dog dancing on its hind legs.
A Lady (1667, 76x62cm framed, 800x598pix, 402kb _ ZOOM to 2340x1749pix, 3007kb) _ She is standing in a room, holding an open book; a tiny dog (the same that was dancing to the tune of the viola da gamba) is about to bark at her, as if to say: “That's no lady! That's my human! I want her to play the viola da gamba again!”

Died on a 24 October:

^ 2005 Philip Harrison “Phil” Hays, US illustrator and teacher born in Sherman, Texas, on 14 March 1931. In 1936 his family moved to Shreveport, Louisiana., where he went to school until joining the Air Force in 1950. In 1952 he enrolled at Art Center College of Design in Pasadena, and in 1955 he moved to New York and started a career as a freelance illustrator. His early watercolor approach, partly inspired by Vuillard, was often quite loose but also extremely detailed.
     In the mid-1950's Hays was one of a young band of expressive and interpretative illustrators, including Robert Weaver, Jack Potter, Tom Allen, and Robert Andrew Parker, who, rather than paint or draw literal scenes based entirely on an author's prose, interpreted texts with an eye toward expressive license. Hays said that representational illustration was an art of nuance, and his work routinely dug below the surface, drawing on Impressionist, Expressionist and Surrealist influences. In 1957, Hays was hired by Silas H. Rhodes, a founder of the School of Visual Arts in New York, to teach his first illustration class, and later he became chairman of the illustration department.
     As a teacher he introduced novels, plays and films to students as a way to increase their visual and verbal literacy. Hays' favorite expression was “Why not?”. He welcomed experimentation and innovation. At the time Hays was not much older than his students, but he was already deep into a successful career. His editorial work appeared regularly in Seventeen, Cosmopolitan, Redbook, McCall's and Esquire. One of his more notable advertising commissions was a very painterly-looking piece for Coca-Cola.
     By the mid-1960's his approach to fiction in Esquire and visual reportage in Sports Illustrated had become darker and more serious. He also found a new métier doing portraits of blues and rock 'n' roll musicians. His lush watercolor portraits of blues artists such as Bessie Smith and Billie Holiday for LP covers defined a distinctive graphic style of album art in the 1970's. His rendering of Bessie Smith for Columbia Records in the early 70's glows out of the darkness in what appears to be a drug haze, and his Jerry Lee Lewis looks to have stepped out of a seedy motel room. It was no accident that the most memorable portraits by Hays were of performers that lent themselves to his particular kind of visual decadent glamour. In 1979 Hays moved back to California to become chairman of the illustration department at the Art Center College of Design. He retired in 2002.
Muddy Waters I (1978; 479x472pix, 27kb _ ZOOM to 958x944pix, 62kb) _ McKinley Morganfield [04 Apr 1915 – 30 Apr 1983], better known as Muddy Waters, was a US blues musician and is generally considered “the father of Chicago blues.”
Muddy Waters II (1978; 478x475pix, 26kb _ ZOOM to 956x950pix, 61kb) —(051031)

2005 Mokarrameh Ghanbari [1928–], Iranian woman painter.
Our Family (614x500pix, 127kb) _ “ I drew it when it was the wedding of one of my brother’s kids here… I didn’t put my husband in the picture. I didn’t want him to be in there. I destroyed it. There is a white line right there. That is where he was but I whitened it out. I didn’t want it.” —(081018)

>2001 Eugenio Fernández Granell [28 Nov 1912–], pintor, escultor, ilustrador, dibujante, novelista, ensayista, poeta, violinista, y activista político español. Uno de los grandes representantes del movimiento surrealista. Nacido en Galicia y con una formación eminentemente cosmopolita, desempeñó una variada labor desde el continente americano, al que tuvo que exiliarse en 1939. Fue el tercero de los cinco hijos que tuvieron María y Eugenio Granell, comerciante asentado en la capital gallega. De pequeño se trasladó a Santiago de Compostela, donde cursó el bachillerato e inició estudios de música. Dio muestras de su precoz interés por el mundo de la cultura cuando, con sólo quince años, fundó junto con su hermano Mario, Manuel Antonio y Carlos Maside la revista Sociedad Infantil Revolucionaria. Interesado en la carrera musical, se trasladó a Madrid en 1928; se matriculó en el Real Conservatorio, donde trabó amistad con el músico Enrique Casal Chapí. — wikibiografía
Encuentros (1656x2492pix, 341kb)
Figuras (2076x1836pix, 250kb)
Cabeza de Indio (2629x1834pix, 743kb)
— (untitled?) (1015x1167pix, 206kb)
El vuelo diurno del Pájaro Pi (1952, 115x105cm; 533x500pix, 37kb)
El nacimiento de los pájaros
Los relámpagos cruzan una gran piedra negra (1959, 150x100cm; 730x500pix, 101kb)
Paolo Uccello suelta una paloma
El maestro explica como mover el aire
Elegía por Andrés Nin
— (6 surrealistic figures) (552x768pix, 58kb) —(091024)

1928 Arthur Bowen Davies, US painter born (full coverage) on 26 September 1862. —(050925)

1901 James McDougal Hart, Scottish-born US painter born (full coverage) on 10 May 1828.

1898 Pierre Cécile Puvis de Chavannes, French painter born (full coverage) on 14 December 1824.

^ 1895 Jacob Isaac Meyer van Haan, Dutch painter born in Amsterdam on 14 April 1852 into a well-to-do Orthodox Ashkenazi .manufacturer’s family, from whom he inherited a great interest in painting. His earliest known paintings, in the style of David Teniers and Rembrandt, are somewhat anecdotal in nature and reflect his Jewish background. One of these works, Uriel Acosta (1888), caused such displeasure in orthodox Jewish circles that Meyer de Haan left for Paris in October 1888 with a monthly allowance from his family. There he stayed with the art dealer Theo van Gogh [1857 – 25 Jan 1891] for some months. In May 1889 he traveled to Brittany, where in Pont-Aven he became friendly with Paul Gauguin [07 Jun 1848 – 08 May 1903]. During the winter of 1889–1890 Gauguin and Meyer de Haan lived, at the latter’s expense (in return for painting lessons), in Marie Henry’s inn in Le Pouldu, where Meyer de Haan rented a studio for the two of them and decorated the dining-room with murals (as did Gauguin); for example Breton Women Stretching Hemp (1889). Marie Henry had a daughter by de Haan, and later played a negative role in Gauguin’s life: she refused to return his works, which he had to keep in her inn for some time. The withdrawal of his family allowance and a sudden illness seem to have prevented Meyer de Haan from following Gauguin to Tahiti in early 1891. He probably returned to the Netherlands in 1891 where he continued to suffer from the ill-health that precipitated his early death, and apparently produced no more works. — Portrait of Meyer de Haan (1889, 80x52cm; 859x550pix, 106kb) and a different portrait Nirvana: Meyer de Haan (1889; 529x751pix, 43kb) both by Gauguin.
Self-Portrait (1891; 428x310pix, 47kb) _ De Haan portrays himself in Breton costume, revealing his liberation from conventional dress. He projects the image of the avant-garde artist with his colorful bandana and Breton cap, which serves as a skullcap.
Still Life with Ham (1889, 33x46cm; 378x540pix, 54kb _ ZOOM to 845x1209pix, 252kb) _ detail 1 (756x1080pix, 191kb) _ detail 2 (845x1209pix, 166kb) _ not very kosher —(051023)

^ >1888 François Etienne Musin, Belgian painter born on 04 October 1820. — Father of Auguste Henri Musin [1852-1920].
–- S*>#A Fresh Breeze Off Scheveningen (614x961pix, 98kb) _ The breeze fills the sails of five beached boats; a large rowboat is strenuously moved to shore by wading men, four pulling and three pushing.
–- S*>#Returning Home (786x961pix, 121kb)
–- S*>#The Page Boy (530x900pix, 53kb)
>— S*#>Midst a Naval Battle, the Dutch Fighting the Danes and the Swedes (_ S*#>ZOOM to 1344x2112pix, 271kb)
–- L'approche d'un orage, plage de La Panne (835x1584pix, 113kb) —(081019)

^ 1843 Antoine Berjon, Lyon French painter, mostly of flowers, born on 17 May 1754.
Portrait of a Gentleman (pen-wash-and-white on blue paper 25x19cm; 400x305pix, 35kb) _ auctioned at Christie's on 04 Jul 2000 to New York dealer Mark Brady for £40'000.
Nature morte avec coquillages (515x414pix, 54kb)
Fleurs dans une corbeille d'osier et fruits (77x60cm; 450x351pix, 35kb)

1705 Marc Nattier, French painter, born in 1642, who specialized in portraits and was married to the miniature painter Marie Nattier [née Courtois] [1655 – 13 Oct 1703]. He had a royal licence to reproduce Rubens’s famous cycle of paintings The History of Marie de’ Medici. Before he died, Marc made the licence over to his sons, Jean-Baptiste Nattier [27 Sep 1678 – 23 May 1726] and Jean-Marc Nattier [17 Mar 1685 – 07 Nov 1766].

^ 1684 Gerrit van Battem, Rotterdam Dutch draftsman, etcher, and painter, born in 1636. — {He was a Rotterdam artist, NOT a rotten damn artist.}— {On ne sait même pas la date du baptême de Battem?} — He is usually judged by his many signed, and often highly colored, gouache drawings of landscape views and genre scenes. However, several gouache drawings of religious subjects, for example The Crucifixion, have been suggested as early works. Between 1648 and 1654 he was very likely a student in Rotterdam of Abraham Furnerius, a relative (on his mother’s side). In 1668 van Battem was in Utrecht, where he married Margaretha Scheffer, sister of the local painter Anton Scheffer. The same year he was commissioned by Philips Koninck, the brother-in-law of Abraham Furnerius [–1654], to arrange for the auction of the prints, drawings and art books belonging to the estate of Abraham’s father, Dr. Johannes Furnerius [–1668], a Rotterdam surgeon and collector. Van Battem must have seen the colorful landscapes of Herman Saftleven II while in Utrecht, where he lived until 1669, when he returned to Rotterdam. In 1678 he was paid by the municipal authorities of Rotterdam to restore a painting in the stock exchange.
— He worked in a variety of media but is best known for his gouaches. He was active in his native Rotterdam and in Utrecht between 1667 and 1669. He trained from 1648 to 1654 under Abraham Furnerius, who was a relative and former apprentice to Rembrandt. Battem travelled along the Rhine and this experience contributed to his broad choice of subjects (1676, View of the Rhine). He painted countryside and peasant scenes, views of rivers, canals and sea during different seasons (People on a Frozen Canal). His compositions, rich in narrative detail, include numerous figures, mostly peasants, hunters and soldiers. In the 1670s he also painted figures in Jacob van Ruisdael’s landscapes. Among his religious works are a grisaille gouache showing Christ carrying the cross, and the Crucifixion. He was receptive to a wide range of influences. His earliest known work, the 1658 etching of mountains in a storm, is Rembrandtesque; some of his seascapes resemble those of Jan Porcellis, while the composition of some landscapes shows the influence of Adam Elsheimer. It has been suggested that a number of works thought to be by Elsheimer should be reattributed to Battem.
–- S*>#Rocky River Landscape (900x1140pix, 278kb) there are travelers, and, in the background, a classical temple.
>–- S*>#Domestic Scene (33x28cm; 900x763pix, 167kb) propositioning the girl with the fishes?
A Fishing Pink Running Past a Jetty (267x305cm; 580x700pix, 83kb) _ On the left, in the foreground, a pink sails in starboard-bow view. A pink was a small Dutch fishing vessel rigged with a square mainsail and sometimes with a small foresail on a smaller mast in the eyes of the boat, as in this image. There are two men in the pink, one at the stern with his hand on the tiller and the other bending over in the bow. The starboard leeboard of the vessel is also visible. These were fitted on traditional Dutch vessels to reduce leeway. To the right is a three-masted vessel flying the Dutch flag. On the right, the red sail of a small craft is visible behind the small wooden jetty in the foreground. Land can be seen in the far distance, together with a number of sails of other small craft. This is one of a pair of images with the next.
Shipping in a Stormy Sea (27x31cm) _ The small coastal craft in the foreground flies the Dutch flag and a similar craft sails on the right. Behind is a larger three-masted vessel. To the right is a town which is dark under a threatening sky, and there is open sea to the left. Other shipping can be seen in the distance. One of a pair of images with the preceding.
People on a Frozen Canal (1680, 27x44cm; 401x640pix, 98kb) _ Heavy, opaque bodycolor particularly effectively conveys the accretion of snow on the rooftops and riverbank, the dripping icicles in the trees, and the heavy, wintry cloud cover. The bodycolor’s weight and solidity harmonizes with the muted brown and gray color scheme. Subtly but effectively, Gerrit van Battem also added the slightest touches of vivid blue and red to animate the scene. Figures on a Frozen Canal belongs to a group of whimsical winter cityscapes that van Battem made as independent works of art. The luminous bodycolor he chose to use may signal that he intended these drawings to resemble oil paintings. Winter landscapes with peasants had been a fixture of Netherlandish art since the time of Pieter Bruegel the Elder in the 1500s. In the early 1600s, Hendrik Avercamp continued and enlivened the tradition, packing his paintings with incidental detail and brightly colored costumes. Like his predecessor, van Battem filled his scene with fun and anecdote as well as fanciful architecture and expressive, skeleton-like trees. — (051023)

Born on a 24 October:

1945 Anthony Christian, English painter.
Collie Flower (15x15cm; 519x525pix, 142kb) or, more accurately, “Collie, Flower, and Cauliflower-in-the-Sky”.
Cat-a-Meringue (15x15cm; 524x525pix, 144kb) —(081018)

^ 1920 Chu Teh Chun, (= Zhu Dequn), Chinese painter active in France.
–- Composition (918x600pix, 54 kb _ .ZOOM to 1377x900pix, 120kb) _ More than half this picture is so black as to be absolutely without interest. So the pseudonymous Chew Thechin has livened it up and completely transformed it into the symmetrical abstraction
      _ Compost Decomposition aka Avis Si Va (2006; screen filling, 193kb _ ZOOM to 1864x2636pix, 1978kb)
–- Composition (454x639pix, 39 kb _ .ZOOM to 1058x1491pix, 171kb) mostly blue and black; a partly frozen landscape with a marsh?
–- Estuaire (540x799pix, 36kb _ .ZOOM to 945x1398pix, 72kb) almost monochrome aqua.
–- No.89 (661x799pix, 55kb) monochrome bluish gray.
La vie qui anime les nuages (2006, 130x195cm; 426x640pix, 42kb)
Vie multipliée (2005, 81x100cm; 480x597pix, 46kb)
Puissance océanique (2004, 81x100cm; 480x595pix, 53kb)
Untitled (1964, 53x83cm; 414x640pix, 48kb)
— different Untitled (1964, 53x83cm; 427x640pix, 54kb)
— third different Untitled (1964, 53x83cm; 408x640pix, 54kb)
Rituels (1996, 130x195cm; 432x640pix, 37kb)
Untitled (480x380pix, 30kb)
Le souffle qui libère la matière (2006, 130x97cm; 480x362pix, 28kb)
Untitled (1998, 130x130cm; 350x355pix, 34kb)
L'Ombre de la Nuit (1977, 65x81cm; 480x605pix, 21kb) _ This internet image of a monochrome brown minimalist abstraction is disfigured by advertising printed right in the middle of it. This provoked Thechin to remove the words, double the picture and maximalize it with a harmony of bright colors and an intricate design with fine details, thus completely transforming it into not just one picture, but two related series (you can click instantly from one series to the other at the same level), each consisting of 9 brilliant symmetrical abstractions with a screen filling background which is part of the overall design (the picture itself on any level does not enlarge the previous one, but adds to its edges and center) (for levels 7, 8, and 9, whose size is required to show all the fine details but exceeds most computer screens, there is an alternate image reduced to size 6, 932x1318pix):
      _ Le Nombre du Huit, level 1 (2006; 165x234pix, 26kb _ level 2 to 233x330pix, 46kb _ level 3 to 330x466pix, 78kb _ level 4 to 466x660pix, 135kb _ level 5 to 659x932pix, 274kb _ level 6 to 932x1318pix, 596kb _ level 7 to 1318x1864pix, 1164kb _ level 8 to 1864x2636pix, 2194kb _ level 9 to 2636x3728pix, 3953kb ||| _ level 7 size 6, 550kb _ level 8 size 6, 544kb _ level 9 size 6, 430kb) and
      _ Le Huit du Nombre, level 1 (2006; 165x233pix, 26kb _ level 2 to 233x330pix, 46kb _ level 3 to 330x466pix, 78kb _ level 4 to 466x660pix, 135kb _ level 5 to 659x932pix, 274kb _ level 6 to 932x1318pix, 596kb _ level 7 to 1318x1864pix, 1318kb _ level 8 to 1864x2636pix, 2194kb _ level 9 to 2636x3728pix, 3953kb ||| _ level 7 size 6, 550kb _ level 8 size 6, 544kb _ level 9 size 6, 430kb) —(071020)

1875 (12 Oct Julian) Konstantin Fyodorovich Yuon [–11 Apr 1958], Russian painter.
Novaya Planeta (1921; 650x1000pix, 76kb) —(081018)

^ 1858 Bertalan Karlovszky, Hungarian painter who died in 1939. After studying in Munich and Paris, he settled in Budapest, his native town, where he was first engaged in illustrations, then in studies of heads (Hungarian Peasant Woman) and portraits. He was famous for his portraits which were as accurate as photos. Even his larger pictures had a miniature-like treatment of textures and details of faces. He was a typical representative of the so-called Art Gallery naturalism. He ran a private art school in Budapest for some time. He became a teacher of the Art School, Budapest in 1928. His major works include Gyula Rózsavölgyi, Female Nude in Workshop, István Kléh (1920), G.H. Becker, Minister of Education, Prussia (1932), Árpád Ódry as Hamlet and Self Portrait.
Lajos korabeli alak = Man of the period of Louis XIII (1897, 25x18cm; 844x570pix, 108kb)
>–- S*>#The Studio (55x96cm; 268x375pix, 20kb) —(051023)

^ 1854 Gunnar-Fredrik Berndtson, Swedish-Finnish French painter and illustrator who died on 09 April 1895. He studied under Adolf von Becker [1831–1909] at the drawing school of the Finnish Art Association in 1869 and in the drawing class of Helsinki University from 1872 to 1875, also studying privately under E. J. Löfgren [1825–1884] and Bernhard Reinhold [1824-1892]. In 1876 Berndtson was awarded a scholarship to Paris, and he spent most of his time there studying at the Ecole des Beaux-Arts under Jean-Léon Gérôme [11 May 1824 – 10 Jan 1904], whose influence can be seen in such works as Berndtson’s Game of Chess (1878). Berndtson was also much influenced by the detailed genre and costume paintings of Ernest Meissonier [21 Feb 1815 – 31 Jan 1891], as seen for example in Art Lovers in the Louvre (1879), shown at the Salon of 1879, which reveals his technical skill and accuracy in the treatment of costume and interiors. The Bride’s Song (1881), which depicts a wedding breakfast, is one of his first attempts at handling light in a way learnt from the Impressionists.
— Berndtson oli ensimmäisiä suomalaisia kansainväliseen menestykseen yltäneitä kuvataiteilijoita. Hän tuli nuorena opiskelijana uuden taiteen pääkaupunkiin, Pariisiin, ja osallistui pian hyvin menestyksekkäästi taiteen suurkatselmukseen, Pariisin jokavuotiseen salonkiin. Hänen maalauksensa herättivät sekä ammattipiirien että taidetta harrastavan yleisön ihailun niin ranskassa kuin kotona Suomessa. Tänä päivänä Berndtson tunnetaan parhaiten elegantteja hienostomiljöitä kuvanneena salonkimaalarina. Taidemuseoissa ja julkisissa kokoelmissa hänen runsaat sata maalausta käsittävä tuotantonsa on niukasti edustettuna. Useimmat teokset ovat yhä kuvaamassaan, taiteilijalle itselleen omimmassa ympäristössä, uusmaalaisissa herraskartanoissa. Siksi Turun taidemuseon näyttely on paljon enemmän kuin taidehistoriallinen suurtyö - se on dokumentti ajasta, kuva epookista ja maailmasta, joka ei ehkä ole täysin katoamassa, mutta ainakin muuttumassa harvinaiseksi. Näyttely Gunnar Berndtson - Salonkimaalari pyrkii kiinnittämään huomiota unohdettuun, kansainväliseen osaan 1800-luvun taidettamme. Kansallisesti, jopa ylitiökansallisesti suuntautuneet taiteilijat, joiden pääkiinnostus kohdistui Karjalan ikimetsiin tai Suomen kansalliseepokseen, ovat nykyään jättäneet varjoonsa Berndtsonin kaltaiset taiteilijat. Gunnar Berndtson on viljavana lainehtivan rannikkomaiseman maalari. Hän toi maahamme tuulahduksen ajankohdan kansainvälisyyttä, ja hän kestää tarkastelun myös kansainvälisestä näkökulmasta
Summer (1893, 61x44cm; 724x541pix, 51kb)
Song of the Bride (1881, 66x82cm; 547x673pix, 43kb)
His Name (1890; 687x567pix, 57 kb) she is carving it into a tree trunk. There recently (very recently) has come to light a fascinating palindromic version of this picture, titled Name Man (920x1300pix, 130kb), in which two identical twin sisters (one of them left-handed) are each carving a name on opposite sides of a strangely conical tree trunk. From the lack of a dispute between the two sisters, it is clear that it is not the same name that each one is carving. It has been said that they are in love with two identical twin brothers. But most experts agree that the picture cannot be by Berndtson, but is most probably a fake by the pseudonymous “Gunman” Fred Richard Zurichsvater.
At the mirror-table (1889, 27x21cm; 714x555pix, 58kb)
Landscape (12x10cm; 678x514pix, 46kb)
Meeting at the River Bank (550x417pix, 66kb)
A Lady in Black with Pink Roses (1879, 36x27cm)
A Young Lady in a White Dress —(051023)

1843 Henryk Hector Siemiradzki, Polish painter who died (full coverage) on 23 August 1902. —(051018)

^ 1843 Margaretha (Margi) Roosenboom Vogel, Dutch still life and flower painter who died on 26 December 1896. — Relative? of Nicolaas Johannes Roosenboom [1805-1880]?
–- Still Life with Roses and Grapes (34x46cm; 609x840pix, 60kb _ .ZOOM to 1218x1681pix, 223kb and admire the crackled paint and the overenlargement patterning)
–- S*>#A Swag of Pink Roses (48x75cm; 934x1441pix, 222kb)
–- S*>#A Flower Still Life (1516x961pix, 334kb) the background is the untreated canvas and it even shows through much of the painted part..
–- Still Life with Peonies in a Vase (52x34cm; 738x480pix, 64kb _ .ZOOM to 1475x960pix, 276kb)
–- Still Life with Flowers on a Forest Floor (25x33cm; 618x800pix, 86kb _ .ZOOM to 928x1200pix, 148kb)
–- Still Life with Roses and Strawberries (31x42cm; 510x704pix, 45kb) —(061022)

1796 David Roberts, Scottish painter who died (main coverage) on 25 November 1864. —(060603)

The young artist tried to concentrate on his work, but the attraction he felt for his model finally became irresistible. He threw down his palette, took her in his arms and kissed her. She pushed him away. "Maybe your other models let you kiss them," she said. "I've never tried to kiss a model before," he swore. "Really?" she said, softening, "How many models have there been?" "Four," he replied, "A jug, two apples, and a vase."

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updated Saturday 28-Nov-2009 0:58 UT
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